The founding of the Berliner Philharmoniker on the first of May in 1882, is annually celebrated with a concert in a European city of cultural significance. For this newly released EUROPAKONZERT Blu-ray Disc all recordings were lovingly restored and converted to High Definition video. The Berliner Philharmoniker are joined for Mozart’s Motet and Mass on this recording by Christine Schäfer, whose unique timbre and performing style has more than once been likened to those of other vocal greats such as Irmgard Seefried and Elisabeth Schwarzkopf. This round of exceptional musicians is completed by Emanuel Ax, winner the Arthur Rubinstein International Piano Master Competition, as the soloist for the works of Chopin and Schumann.
This memorable recording from the Staatsoper Unter den Linden in Berlin was Arthaus Musik’s first official release in 2000. It features one of the most popular Mozart operas, „Le Nozze di Figaro“, a witty satire on the authority of the reigning noble class and infidelity in love relationships. Starring a great cast of singers with Dorothea Röschmann, René Pape, Emily Magee and Peter Schreier – to name but a few – this performance is conducted by Daniel Barenboim, chief conductor of the Berlin State Orchestra since 1992 named conductor for life by the orchestra in 2000.
In the historic Weimar Herder Church Sir John Eliot Gardiner finds the perfect setting for his recording of the Bach Christmas Oratorio. Against the backdrop of the dramatic altar and Lucas Granach paintings, the Monteverdi Choir and the English Baroque Soloists perform Gardiner's new interpretation of this classic piece. With this interpretation of the Christmas Oratorio, Gardiner shows himself once again to be an incontestible specialist of Bach's music.
The Bournemouth Sinfonietta was founded in 1968 as a chamber orchestra of about 35 players to complement the work of the larger Bournemouth Symphony Orchestra. The first conductor was Kenneth Montgomery, followed by Maurice Gendron, Norman Del Mar, Roger Norrington, Tamás Vásáry, and Alexander Polianichko, as well as director/violinists Ronald Thomas and Richard Studt. The Sinfonietta has appeared at the BBC Proms, with Glyndebourne Touring Opera, for the National Opera Studio, at the major British music festivals, on tour in Europe and Brazil, and on over 70 recordings (many featuring the work of contemporary British composers).
For while it would be idle to pretend that this 70-year-old virtuoso, struck down at the height of his career with psoriatic arthritis, still commands the velocity and reflex of his earlier years, his later Chopin and Liszt are a tribute to a devotion and commitment gloriously enriched by experience. The First Impromptu is piquantly voiced and phrased while the C sharp minor Etude, Op. 25 No. 7, could hardly be more hauntingly confided, more ‘blue’ or inturned. How you miss the repeat in the C sharp minor Mazurka, Op. 50 No. 3 (not Op. 15, as the jewel-case claims), given such cloudy introspection and if there are moments when you recall how Rubinstein – forever Chopin’s most aristocratic spokesman – can convey a world of feeling in a scarcely perceptible gesture, Janis’s brooding intensity represents a wholly personal, only occasionally overbearing, alternative; an entirely different point of view. Time and again he tells us that there are higher goods than surface polish or slickness and in the valedictory F minor Mazurka, Op. 68 No. 4 he conveys a dark night of the soul indeed, an emotion almost too desolating for public utterance… Janis is no less remarkable in Liszt, whether in the brief but intriguing Sans mesure (a first performance and recording), in a Sonetto 104 del Petrarca as tear-laden as any on record and in a final Liebestod of an exhausting ardour and focus.
One of China's biggest pop stars of the late 20th century, Sandy Lam rose to fame in the 1980s as a Cantopop singer before expanding her fan base significantly in the 1990s with stylistically diverse albums in Mandarin, Japanese, and English.
The debut album from amalgamated progsters John Wetton, Bill Bruford, Eddie Jobson, and Allan Holdsworth has the edge over both Danger Money and Night After Night because of the synthesis of melody and rhythm that is inflicted through nearly every one of the eight track…